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As Saint Augustine wrote, similarly, "if you can grasp [God], it isn’t God." [4] A cataphatic way to express God would be that God is love. The apophatic way would be to state that God is not hate (although such description can be accused of the same dualism). Or to say that God is not love, as he transcends even our notion of love.
God Himself does not know what He is because He is not anything [i.e., "not any created thing"]. Literally God is not, because He transcends being. [80] When he says "He is not anything" and "God is not", Scotus does not mean that there is no God, but that God cannot be said to exist in the way that creation exists, i.e. that God is uncreated.
A contronym is alternatively called an autantonym, auto-antonym, antagonym, [3] [4] enantiodrome, enantionym, Janus word (after the Roman god Janus, who is usually depicted with two faces), [4] self-antonym, antilogy, or addad (Arabic, singular didd).
'Sun'; Homeric Greek: Ἠέλιος) is the god who personifies the Sun. His name is also Latinized as Helius, and he is often given the epithets Hyperion ("the one above") and Phaethon ("the shining"). [a] Helios is often depicted in art with a radiant crown and driving a horse-drawn chariot through the sky. He was a guardian of oaths and also ...
"Being therefore the offspring of God, we must not suppose the divinity to be like unto gold, or silver, or stone, the graving of art, and device of man." Romans 1:20 "For the invisible things of him, from the creation of the world, are clearly seen, being understood by the things that are made; his eternal power also, and divinity: so that ...
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The aedes was the dwelling place of a god. [5] It was thus a structure that housed the deity's image, distinguished from the templum or sacred district. [6] Aedes is one of several Latin words that can be translated as "shrine" or "temple"; see also delubrum and fanum. For instance, the Temple of Vesta, as it is called in English, was in Latin ...
A diagram of the names of God in Athanasius Kircher's Oedipus Aegyptiacus (1652–1654). The style and form are typical of the mystical tradition, as early theologians began to fuse emerging pre-Enlightenment concepts of classification and organization with religion and alchemy, to shape an artful and perhaps more conceptual view of God.